Nineteen ways of looking at wang wei presentation by Ryan Chapin, Jungjik Park, Kristen Kirchhoff and Kaitlyn Herman
1. Nineteen Ways of Looking atNineteen Ways of Looking at
Wang WeiWang Wei
By Ryan Chapin, Kristen Kirchhoff,
Kaitlyn Herman, and Jungjik Park
2. Background Information on theBackground Information on the
Infamous Wang Wei:Infamous Wang Wei:
•• 8th century Tang dynasty poet, painter, and government8th century Tang dynasty poet, painter, and government
officialofficial
•• Born in 699 in P'u-chou (the present Fen-Born in 699 in P'u-chou (the present Fen-
yang county in Shansi Province)yang county in Shansi Province)
•• In 719, was awarded the highest degree in theIn 719, was awarded the highest degree in the
examination system, the chin-shih and became Assistantexamination system, the chin-shih and became Assistant
Secretary for MusicSecretary for Music
•• By the time of his death in 759, heBy the time of his death in 759, he directeddirected
the administration of 12 departments in the ministries ofthe administration of 12 departments in the ministries of
war, justice, and workswar, justice, and works
•• After the death of his wife and mother, he withdrewAfter the death of his wife and mother, he withdrew
from public society to the solace of his country home atfrom public society to the solace of his country home at
Lan-t'ien along the Wang River. There he often wrote andLan-t'ien along the Wang River. There he often wrote and
painted.painted.
5. Importance of Imagery in ChineseImportance of Imagery in Chinese
PoetryPoetry
Classical Chinese poetry has no generalClassical Chinese poetry has no general
accepted interpretation.accepted interpretation.
• It’s a common practice that the images areIt’s a common practice that the images are
always associated with imagery in classicalalways associated with imagery in classical
Chinese poetry.Chinese poetry.
Since Chinese ancient poetry is famous forSince Chinese ancient poetry is famous for
being productive of images, the rendering ofbeing productive of images, the rendering of
images becomes the vital point in theimages becomes the vital point in the
translation of classical Chinese poetry.translation of classical Chinese poetry.
8. En la Ermita del Parque de los VenadosEn la Ermita del Parque de los Venados
No se ve gente en este monte.No se ve gente en este monte.
Solo se oyen, lejos, voces.Solo se oyen, lejos, voces.
Por los ramajes la luz rompePor los ramajes la luz rompe
Tendida entre la yerba brilla verde.Tendida entre la yerba brilla verde.
-Octavio Paz, 1974-Octavio Paz, 1974
9. Empty mountains:
no one to be seen.
Yet-hear-
human sounds and echoes.
Returning sunlight
enters the dark woods;
Again shining
on the green moss, above.
-Gary Snyder, 1978
10. The Form of the DeerThe Form of the Deer
So lone seem the hills; there is no one in sight there.So lone seem the hills; there is no one in sight there.
But whence is the echo of voices I hear?But whence is the echo of voices I hear?
The rays of the sunset pierce slanting the forest,The rays of the sunset pierce slanting the forest,
And in their reflection green mosses appear.And in their reflection green mosses appear.
-W.J.B. Fletcher, 1919-W.J.B. Fletcher, 1919
